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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Robert Morris

(1931 - 2018), USA

Robert Morris was born in Kansas City, USA, and studied engineering at the University of Kansas City and art at Kansas City Art Institute 1948-50, the California School of Fine Arts, San Francisco 1951 and Reed College, Oregon 1953-5. He returned to San Francisco and worked in improvisatory theatre, film having his first one-man exhibition of paintings at the Dilexi Gallery, San Francisco, in 1957.

Morris moved to New York in 1961 and began to make sculpture. His early works tended to emphasize a banal repertoire of form and subject-matter, while attempting to investigate the role of language. At the same time, however, Morris continued his involvement with performance art, for which he reunited with former collaborators Walter De Maria, Yvonne Rainer and La Monte Young, who had also moved to New York.

Through an influential series of articles that began to appear, irregularly, in the New York art press c. 1966, Morris assumed a highly visible position in determining both the objectives and the tenor of Minimalism in America, then in its early stages. Yet, while his impersonal and often doctrinaire manifestos were received favourably by a large number of young artists, he himself was frequently regarded as provocative and even flamboyant. In 1967 he began to make soft hanging sculptures in felt and from 1968 to produce anti-form or process works by the lateral spreading, scattering or stacking of different materials. His later work includes a number of projects for large-scale monuments and earthworks. This type of sculpture maintained a privileged place within his output during the 1970s, although his practice increasingly moved beyond the constraints of conventional media.

Morris’s work of the 1980s, returned to drawing and painting, producing works of a heroic scale. Through an integration of sculpture and two- dimensional images, he evoked an apocalyptic vision of the modern world. Using ‘Hydrocal’ and welded steel to create dark framing elements that bear skulls and other body parts in their relief panels, he set into these frames canvases whose lush landscapes are evocations of the apocalypse or holocausts.

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Featured Artworks

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Untitled by Robert Morris contemporary artwork
Robert MorrisUntitled, 1974 Brown felt, metal grommets
242.6 x 174 x 78.7 cm
Hauser & Wirth
Untitled by Robert Morris contemporary artwork
Robert MorrisUntitled, 1968 (remade 2011) Two grey felts
365.8 x 182.9 cm
Sprüth Magers
Arch by Robert Morris contemporary artwork
Robert MorrisArch, 2012 Maple
238.8 x 142.2 x 30.5 cm
Sprüth Magers
Untitled (Williams Mirrors) by Robert Morris contemporary artwork
Robert MorrisUntitled (Williams Mirrors), 1976-77 12 mirrors, 231.4 x 244 cm each
Sprüth Magers
Hanging Soft and Standing Hard by Robert Morris contemporary artwork
Robert MorrisHanging Soft and Standing Hard, 2013 Installation view at Sprüth Magers London
Sprüth Magers
Hanging Soft and Standing Hard by Robert Morris contemporary artwork
Robert MorrisHanging Soft and Standing Hard, 2013 Installation view at Sprüth Magers London
Sprüth Magers
Hanging Soft and Standing Hard by Robert Morris contemporary artwork
Robert MorrisHanging Soft and Standing Hard, 2013 Installation view at Sprüth Magers London
Sprüth Magers
Hanging Soft and Standing Hard by Robert Morris contemporary artwork
Robert MorrisHanging Soft and Standing Hard, 2013 Installation view at Sprüth Magers London
Sprüth Magers

Current & Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, The Sylvio Perlstein Collection A Luta Continua at Hauser & Wirth, Hong Kong
Open Now
23 May–27 July 2019 Group Exhibition The Sylvio Perlstein Collection A Luta Continua Hauser & Wirth, Hong Kong
Contemporary art exhibition, Robert Morris, Jiro Takamatsu, Jiro Takamatsu & Robert Morris from the 1970’s at Yumiko Chiba Associates, Tokyo
Open Now
25 June–31 July 2019 Robert Morris, Jiro Takamatsu Jiro Takamatsu & Robert Morris from the 1970’s Yumiko Chiba Associates, Tokyo
Contemporary art exhibition, Group Exhibition, A Luta Continua at Hauser & Wirth, New York
Closed
26 April–27 July 2018 Group Exhibition A Luta Continua Hauser & Wirth, 22nd Street, New York

Represented By

In Related Press

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Brutalist sculpture is the star act at this exhibition in Brussels Related Press Brutalist sculpture is the star act at this exhibition in Brussels Wallpaper* : 10 May 2018

'I have a strong credo that an exhibition must embody real objects,' says curator Matthieu Poirier prefacing a walkthrough of The Brutal Play, in which works from Carl Andre, Donald Judd and Robert Morris occupy the Fondation CAB in Brussels. 'These objects remind the viewers of their own bodies.'

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Tate Modern's Switch House Related Press Tate Modern's Switch House Art Agenda : 23 June 2016

“When racism and sexism are no longer fashionable,” the Guerilla Girls asked in 1989, “what will your art collection be worth?” Predicting that “the art market won’t bestow mega-buck prices on the work of a few white males forever,” their printed notice listed 67 female artists (several of whom are now on...

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First look: inside the Switch House - Tate Modern's power pyramid Related Press First look: inside the Switch House - Tate Modern's power pyramid The Guardian : 25 May 2016

Among the shafts of luxury flats sprouting up along the south bank of the Thames, from Battersea to Bermondsey, there is one new tower unlike the others. It is made of brick, not glass, and stands as a squat, truncated pyramid, twisting as it rises. Punctured only by thin slit windows, Tate Modern’s new extension rears up like a defensive...

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Robert Morris & Kishio Suga Related Press Robert Morris & Kishio Suga Art Agenda : 6 May 2016

Words, like the gray matting in Robert Morris’s Lead and Felt (1969/2016), are woven. Yet, like these felt strips, descriptions shift. In a shared context with Kishio Suga’s Parameters of Space (1978/2016), material and form take on meanings that bend, twist, and track the local climate. The immediate world provides a particular field...

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In Video & Audio

A Luta Continua. The Sylvio Perlstein Collection Related Video & Audio A Luta Continua. The Sylvio Perlstein Collection Hauser & Wirth : 8 May 2018

Unfolding across all three floors of Hauser & Wirth New York, 22nd Street, A Luta Continua is the first United States presentation of the Sylvio Perlstein Collection. Curated by David Rosenberg, the exhibition presents more than 360 works by some 250 artists. Among these are Josef Albers, Carl Andre, Diane Arbus, Hans Bellmer, André Breton,...

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